"At last, an in-depth book about the casting process that tells actors what it is like to be on the other side of the desk, and a must read for the aspiring casting director " -Marilyn Henry, coauthor, How to Be a Working Actor
Whether auditioning for graduate programs or professional productions, In Performance is an indispensable collection of monologues for today's aspiring young actors. Featured are dynamic monologues from contemporary stage plays of the past 15 years, as selected by a professional acting teacher, director, and casting director. Along with covering the basics of how best to match the monologue to the actor and how to approach the rehearsal and performance of the piece, this handy guide provides a synopsis of each play, character descriptions, and a list of questions specific to each monologue that will help actors develop complex, honest, and thoughtful performances with a strong emotional connection, a clear arc, and playable actions.
This is the first book devoted to the actor who has created a judicious blend of high-definition performances on the British stage and a wide range of award-winning television and film roles. New York Times writer Mel Gussow interviewed Gambon on many occasions, and those conversations comprise the majority of this book. Gussow also draws insights from some of the people who have worked with Gambon. Gambon was named the successor to the late Richard Harris as Professor Dumbledore in the Harry Potter films, making his debut in 2004's Harry Potter and the Prisoner of Azkaban, and he will be featured more prominently in the June 2005 film Harry Potter and the Goblet of Fire. He can also be seen in Mike Nichols' Emmy Award-winning HBO film of Tony Kushner's Angels in America and a growing number of films, including the recent Being Julia with Annette Bening, Sky Captain and the World of Tomorrow, and Wes Anderson's The Life Aquatic with Steve Zissou with Bill Murray.
Oh Hai The Room: The Definitive Guide is the ultimate key to the biggest pop culture phenomenon of the 21st century, Tommy Wiseau's The Room. Arguably the worst film of all time and certainly one of the most beguiling, the masterpiece of so-bad-it's-good filmmaking has grown since its release in 2003 to become one of the most popular theatrical releases of all time, with an extremely loyal and vocal fan base. Within the book, readers will find everything required to step into The Room for the first time and understand the traditions, characters, and (lack of) logic at play within the ultimate cult film. Favorite customers of the film will also find a dozen red roses as the book takes a look back at the history of the phenomenon, features extensive and in-depth analysis of the film, includes extensive interviews with the cast and crew, and, of course, studies the film's enigmatic and visionary auteur, Tommy Wiseau. This is the first available book guide to The Room. And an added bonus is the graphic design from cult film artist Mute, which will give the book an eye-catching and distinctive look. So get your tuxedo on, grab your football, have your spoons at the ready, and prepare to shout, "You're tearing me apart, Lisa " for the first or thousandth time, as we enter The Room.
In this thoughtfully curated collection, actors preparing for an audition or searching for quality scenes to hone their chops will find a wealth of contemporary material from American and British plays. Almost all of the works are from the year 2000 to the recent 2014 Broadway production of The Curious Incident of the Dog in the Night-Time, chosen from the point of view of a professional acting teacher, director, and casting director. Along with covering the basics of how to match the best monologue to the actor and how to approach the rehearsal and performance of a piece, the book provides a synopsis of the plays, character descriptions, and lists of questions specific to each monologue that will direct the actor toward shaping a complex, honest, and thoughtful performance with a strong emotional connection, a clear arc, and playable actions. There is also a brief lesson on appropriate rehearsal behavior and preparation.
Shakespeare was a man of the theatre to his core, so it is no surprise that he repeatedly contemplated the nuts and bolts of his craft in his plays and poems. Shakespeare scholar Nick de Somogyi here draws together all the cherishable set pieces - including "All the world's a stage " Hamlet's encounters with the Players, and Bottom's amateur theatricals - along with many other oblique but no less revealing glances, and further insights into theatre practice by Shakespeare's contemporaries and rivals. De Somogyi's commentary takes us through the entire process of Shakespeare's theatrical production, from its casting and auditions, via rehearsals, costumes, and props, to its premiere and audience reception. Shakespeare on Theatre eavesdrops on the urgently whispered noises-off in the "tiring-house" and inhales the heady aroma of the Globe's first audiences.
Nineteen of today's greatest playwrights-including Doug Wright, Edward Albee, Christopher Durang, and Sarah Ruhl-contribute to this book about the transformative power of theatre. What was the play that changed your life? What was the play that inspired you; that showed you something entirely new; that was so thrilling or surprising, breathtaking or poignant, that you were never the same? Nineteen of today's most gifted playwrights respond in this most revealing and personal book. From Edward Albee's 1935 visit to New York's Hippodrome Theatre to see Jimmy Durante (and an elephant) in Rodgers and Hart's Jumbo to Diana Son's twelfth-grade field trip in 1983 to see Diane Venora play Hamlet at the Public Theater, America's foremost playwrights share their stories. Also included here are pieces by Christopher Durang, David Henry Hwang, Sarah Ruhl, A. R. Gurney, John Patrick Shanley, Doug Wright, and more.
This significant reference work is an unprecedented attempt to compile a chronological list of all documents related to the management and regulation of the theatres in England from the reopening of the playhouses in 1660 to the Licensing Act of 1737.
Each of the more than four thousand entries includes the date, the location, a descriptive title, and a quotation from or a brief description of the item plus reference to other copies or printed transcriptions.
The documents are various: lawsuits and the Lord Chamberlain s manuscripts in the Public Record Office in London; manuscripts in the British Library and in the Bodleian, Folger, Huntington, and Harvard theatre collections, as well as other repositories; printed letters and pamphlets associated with particular dates or productions; and newspaper and magazine items not related to specific performances (which are covered in "The London Stage)."
In addition to the entries, the book includes a preface, an introduction, a list of abbreviations, five appendixes, and an exhaustive index keyed to item numbers."
Dampstain on back board of vol. 1.